11 and 14 May 2016 at Köttinspektionen
Free admission, no booking required
Revolve Performance Art Days is a new festival for performance art in Uppsala with a focus on the genre’s specific capacity to act in the here a now. The festival aims at gathering and presenting a richness of expressions and artistic strategies dealing with the ephemeral nature of performance, while having the capacity to challenge, enrich and contradict each other. 14 internationally active artists and groups have been invited to participate, with the festival taking place in a variety of settings. Revolve highlights performance art that courageously and playfully challenges its own medium and politics. The program is multifaceted and discusses what it means to be human from a social and existential angle. It features powerful visual and conceptual works that convey political perspectives as well as euphoria and escapism.
For full program please visit: uppsalakonstmuseum.se
The festival is organized by Köttinspektionen Dans, Uppsala Konsert & Kongress, Uppsala Konstmuseum and Gustav Broms in collaboration with the Royal Collage of Art, London. Made possible by generous support of the Uppsala Municipality Cultural Committee, Culture and Education County Council of Uppsala and Sensus in collaboration with Iaspis – the Swedish Arts Grants Committee’s International programme for visual artists.
The performance is an investigation, a set of questions and an exploration of the relationship between and the ambiguity of silence and speech, touching on questions of power, protest, ownership and loss. The work is played out within the mouth and as mouth, it is a dialogue and a monologue at once, where the agency of the positions between performer and audience is put at play. Who has voice and who is silenced? Whose silence exercises power over whose speech?
Moa Franzén (b. 1985) is an artist and writer based in Stockholm. Her practice encircles writing and performance and places itself in and between visual arts, choreography and literature. Franzéns work evolves around contradictory and complex acts and practices as sites and expressions for agency and resistance, by directing attention to and displacing hegemonic narratives and acts. Franzén often works within curatorial collaborations where the organization of temporary spaces for exhange and conversations are central. Franzén holds an MA in New Performative Practices from DOCH. She has shown work nationally and internationally, curated exhibitions, seminars and performances, and has been published in a number of publications and magazines.
Drowned in the seaweed of mass consumerism and communication, the work is based on the theory that we are all living in a collage. By re-combining the visual image of public space, architecture, social context and the political or economic situation we are living in, we re-think the world-wide collage, its hierarchies and petrified conditions.
Shaking our wastes, half passion, half tradition, half fashion.
I want your IBAN melody baby.
We invite the performers Jelili Atiku and Lisa Hansson to join us in a collage of over-sized advertising prints, with images of glossy cars, shiny products and fashion pictures. By cutting these billboards and scaffolding covers into fringes, bending, pulling and folding them into continuously moving sound collages, we deconstruct everyday life at the schism between image and substance. We dive into the fashion pictures of the so called developed world, we try to sniff out the bad breath of industrial production hidden behind the flossed teeth and bleached rubber tires.
Jelili Atiku is a Nigerian multimedia artist with political concerns for human rights and justice. He is presently the project leader of Art Africa Forum; the artistic Director of AFiRIperFOMA – a collective of performance artists in Africa; and Chief Coordinator of Advocate for Human Rights Through Art (AHRA). Jelili has travelled widely and participated in numerous performances/exhibitions/talks all over the planet. He is 2015 Prince Claus Laureates and was recently wrongly accused, arrested and detained in prison on the instance of his performance in public space.
Lisa Hansson is an opera trained improvisation singer, librettist and performance artist, active in the field of experimental music, musical drama and performance. Lisa uses her own experimental voice techniques in combination with traditional opera voice and her work is often based in improvisation and has an investigative approach both musically and in performance. She has written scripts and librettos for many operas and performances. She has also toured her own pieces with groups such as KEL and Klaverdal, in Japan, USA, UK and Sweden.
,,you are just a folder, you are some gigabyte in my life, that’s all”, Offenbach 2016 ,,We make do the Pietà of Our Lies” Salon des amateur, Düsseldorf February 2016 „A lizard visited us for breakfast“ Diskurs Festival 15“ Giesen Oktober 2015 „Street parade/ marching band“ in collaboration with Hack Museum in Ludwigshafen and a marching band of 18 musicians. September 2015
https://vimeo.com/122885679 Kai Middendorff Galerie, Frankfurt Performance September 2015
„A lizard visited us for breakfast” Skogen, Göteborg, Sweden performance August 2015
„IF TRAFFIC JAM WAS MY SISTER, MY BROTHER, MY UNCLE AND MOTHER“ https://vimeo.com/129141133Ejigbo, Lagos/ Nigeria January 2015. „Donkey zipper cerveaux dommage car prayers“ Macroscope, Mülheim/ Ruhr, September 2014.
„read-cut performance, Suzuki- Hannah Arendt“ Grace Exhibition Space, Brooklyn. 2014
,,Michel Klöfkorn, Marie Gavois & 200m2 office carpet in an moving intervention from the basement into the street and back into the gallery again”, Galerie Detroit, Stockholm. 2014
„I am trying to push myself into sth, that could be sth I don’t want to change my situation“, Gallery Detroit Roslagsgatan, Stockholm, 2013
Stop stop stop colonizing us with arbitrary capitalist power tricks. Trick that capitalist. Overpower that arbitrariness. Trick that catapultist. Empower that arbitrary power of yours. Your power my power yes power no power. POWOW. POW POW.
The artist duo is confronted with the exhaustion of the possible. They use indifference as political resistance and fine-tune their laziness as an artistic tool, navigating between disorganized junk, schizophrenic intensities and sleepy stones.
Kajsa Wadhia works in the fields of performance, text and choreography and holds an MA in New Performative Practices from DOCH, Stockholm. She places her artistic practice in the context of an over productive and accelerating society, and responds by turning exhaustion into resistance and anti-climax into fulfillment. Together with Maria Stiernborg, she forms the performance duo The Disengaged Free Jazz Orchestra, investigating anti-relational aesthetics, slowness, disorganisation and laziness as artistic tools and political resistance. Previously she co-directed and worked with performing arts collective Arena Baubo. She is co-directing Köttinspektionen Dans in Uppsala with Tove Salmgren.
Maria Stiernborg is a performance artist educated at Dramatiska Institutet, and at the Master Programme Art in the Public Realm at Konstfack, Stockholm. Through her artistic practice she is predominantly interested in the relation and the distribution of power between the artist and the audience and the outcome of breaking the ritual contracts.
What kind of social space does a performance situation carry? In I pretend that you speak a set of questions about mutuality, dependency and power unfolds. Overlapping imagination and the matter-of-factly, the performance deals with relations between spectator/spectator and performer/spectator. When the performer takes the role of a moderator and the audience gets to embody an audience, a kind of dance occurs of collective listening, attention, stillness and actions.
Tove Salmgren works as a dancer, choreographer, dramaturge and mentor/pedagogue and holds an MA in New Performative Practices from DOCH, Stockholm. Her work has a feminist/anti-capitalist base and often uses a strategy of addressing itself, ie hegemonic structures within the field of dance/art and the inherent policies. In collaboration with The Blob she’s exploring softness, critique and contamination within and of institutions, next time in the conference The Promises of Monsters in Stavanger (2016). Autumn 2016 We happen things #3 – the speaking body, will premiere at MDT Stockholm, a collaboration with Manon Santkin and Moa Franzén, in which they invite other artists to make a kind of self-portrait through their scores. Since 2016 she’s co-directing Köttinspektionen Dans in Uppsala, together with Kajsa Wadhia. Her solo work I pretend that you speak was presented at MDT in 2014, during the festival Another Fine Selection and at The pipe factory during Glasgow International Festival the same year.
How to carry white men no 3/Brown woman carrying white men/Big Mamas Last Lullaby…… aims at illuminating the relationships between physical bodies sharing space in a global economy, a domain structured by colonial impact. The three titles suggests three parallel possibilities of interpretations in a performance that is partly private and personal but also political. It is an investigation that addresses the dynamics between gender and race and what role they play with regard to how we perceive different bodies. Cecilia Germain is also a member of the artist group (r)evolve, not to be mixed up with Revolve Performance Art Days.
Cecilia Germain, born in Uppsala 1974, graduated from the Fine Art department at Konstfack in Stockholm 2006. Since then she has continued her work, often focusing on subjects concerning identity, history, ethnicity, gender, metaphysics, manipulation and the porous border between fiction and fact. Her own multiracial background is one experience that has made her interested in the mechanisms behind power structures and the silent language of the physical body. Germain uses photography, text, drawings, installation and performance as tools to make her art. Germain works from the perspective that we are all under influence of collective myths and imaginations that are subconsiously regulating our viewpoints and actions. In 2011 Germain began the ongoing project “Carrying White Men”, an investigation that continues and develops over time.
Stage design: an illuminated stage, rows of chairs on the floor in front of the stage, an audience, a table, a telephone, a note book, a pen, a cardboard box, a potted plant, a pair of white archival gloves, a table cloth, an envelope.
Welcome. Let the show begin.
The Ring will be streamed live. You find the real time streamed link on May Woodhouses’ wall on Facebook!
The bookish character May Woodhouse was born in Bath in 1872. Since 1883 she has been settled on the island Samonzora, where her father is a coloniser. May – named after a possibility – feels the burden of fulfilling duties, but also an unarticulated longing to break free, and to make herself a life outside of the colonial structures that have been imposed upon her. Woodhouse, who is floating between reality and fiction, normally enters into contact with the rest of the world only via letters and books that reach and leave the only post office on the island. Through these texts she can move freely between epochs and continents. She is careful to hide this freedom from her mother, whose efforts to retain a privileged position in the colonial society may be challenged. Only recently, a telephone was introduced at the post office.
Bilder/Images: Freejazz © José Figueroa. Marie Gavois & Michel Klöfkorn © Marie Gavois & Michel Klöfkorn. Moa Franzén © Sofia Eliasson. Cecilia Gerimain © Johanna Gustavsson. Tove Salmgren © Danjel Andersson. May Woodhouse @ Unknown.